Words matter. These are the best Miguel Syjuco Quotes, and they’re great for sharing with your friends.
When you live in the Philippines or a country like that, you develop something of a very thick skin because you’re confronted every day with all of the problems all around you.
The immigrant experience in ‘Ilustrado’ was only a small part of what I intended to be a broader look at the Filipino experience, even if that broader look was itself merely a specific perspective.
I look at western literature and especially North American literature, and I feel like it gets bogged down so much with all of that, with domestic stories and relationships and a woman dealing with the loss of her husband.
Fiction is a very powerful tool for teaching history. The Philippines was the first Iraq, the first Vietnam, the first Afghanistan, in the sense that it was the United States’ initial or baptismal experience in nation-building.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
I don’t believe in nationalism. I think it’s a bunch of slogans. It’s a bunch of poor attempts at creating pride. My problem with nationalism is that it becomes exclusionary. We start to exclude people.
Touching on universality is an important part of effective storytelling, but the problem with cliches is that they are tired and dull. And that’s where writers must try to be artful.
I want to write a book that makes people debate, and makes people think, interact with each other and exchange ideas… I write because I’m engaged in this big conversation.
I read a blog about this young filmmaker in the Philippines who made a short film, and one of the characters in the film reads my novel and then starts discussing the novel with someone. The idea that my book can inspire another artist and be part of that other artist’s work… that’s the reason I write.
I have to believe that literature can effect change; otherwise, I would have no purpose in my life and would have wasted four years on ‘Ilustrado.’
‘Illustrado’ is not an autobiography. Only the ideas are autobiographical; the ideas of bitterness, frustration, unchanging society, an individual lost, social awkwardness… The book satirises archetypes from across Filipino society, and I felt that the least I could do was offer myself up, too.
The Miguel Syjuco character is not me. I wanted him to represent my own fears and frustrations and guilt, my own worst tendencies and my optimistic expectations. He’s a cautionary tale for me. But he’s also an examination of the darkest things that haunt me as a person.
There is that potential of the expats coming back to the Philippines. But sadly they are no opportunities, no incentive for them to come back home. Successive governments have, in fact, been training them to export them rather than working on the economy to welcome them home.
I have no illusions that my work can rouse the masses to create change, because literature simply doesn’t have that power anymore in my country, if it does anywhere. But I do hope that it can be read by those who are in positions to create change, or that it can at least be part of that dialogue.
I surprise myself that I’m not dead in the gutter somewhere, surprised that I haven’t given up.
